Cirkopolis, Cirque Eloize, State Theatre, Friday October 10th 2014

Cirkopolis, Cirque Eloize, State Theatre, Friday October 10th 2014

At the opening night performance of "Cirkopolis" by Circus Eloize three mobile phones  (in Row B in the stalls) were used during the performance.  Only one was caught by the ushers.  Apparently the violator was trying to film the performance.

Interestingly these fine performers dropped the batons twice during the ensemble juggling act.  Even though these performers may not have shown to us the obvious look of distraction, my concern is for their safety and the welfare of the performers. 

During a few of the other tumbling acts there were some stumbles and near misses with catches.  Were these as a result of the distracting lights from the mobile phones?

Mobile phone issues:

The announcement by Arts Centre Melbourne states to turn your mobile phones to silent.  This is not appropriate as the phones light up and cause a peripheral vision distraction.

There was a separate announcement made by Cirque Eloize stating to turn off mobile phones. Why not have a consistent message to say turn them off?

Both need to explain that it is distracting for not only the audience members, but it is a major safety hazard for the performers.

Using mobile phones and other electronic devices can be distracting for other patrons.  It is also rude and invasive.  Their behaviour shows a lack of care for those around them. (See the article in the October 12th 2014 Sunday Age about FOMO = Fear of missing out.)

Enough of my whinge!

Review:
 
"Cirkopolis" by Circus Eloize was presented as part of the Melbourne Festival.  The Artistic Director of the Melbourne Festival, Josephine Ridge announces that "We also bring you a special focus on the changing world of circus - an art form in motion, in which Melbourne excels."
 
We were so fortunate to see Circus Eloize and their unique style of presentation of "Cirkopolis"  which is inspired by Fritz Lang's film "Metropolis." From the opening sequence of a man sitting behind a desk with his back to the audience we were instantly welcomed into a world of deskbound drudgery.  He sat stamping papers as more papers would arrive with a parade of grey trench coats walking back and forth. He juggled the papers in piles and for some reason I was expecting more.
 
"Cirkopolis" is directed by Dave St-Pierre and Jeannot Painchaud. What I loved was this constant theme honouring "Metropolis" throughout the show.  Behind was the black and white video projection that created a sense of space, location and atmosphere. Robert Massicotte is a genius with his clever stage designs and video projections as they transformed us, but did not overtake the action of the performers. 

The opening tumbling act across the table was one of the most magical aspects of the show.  Even though I may have seen some more spectacular tumbling sequences in other circuses, I adored the choreography and the theatricality of the staging.
 
The Cyr Wheel was brilliantly performed by Lea Toran Jenner who made this large hula-hoop dance by itself as if by magic.  It was like a duet with the wheel.  Together they were lyrical and musical.  There was a respect in her relationship with this wheel.  I loved her lines and her ethereal quality. She is so skilful in not chopping off her fingers as she rolls and navigates the Cyr Wheel in various ways.
 
Sadly the group juggling act lost some magic due to at least two incidents of dropping the batons.  I blame the lighting up of the mobile phones as these performers are so well trained and skilled that they can juggle looking elsewhere.  Maybe it was a lapse in concentration.  It is forgivable, but sadly due to the music score they are limited and must continue the show.  This too me takes away from the excitement of the build up to finally achieving success with their trick.
 
The strong man, Ugo Laffolay worked on the straps with his sensational gymnastically toned physique.  When he first took off his shirt the audience all swooned in awe at his musculature.  What was so impressive was his push ups with his legs suspended off the floor in second position (with his legs wide apart.)  There was a competition comedy routine with the clown, Ashley Carr. trying to copy Ugo's routine.  This was fun and we could empathise with the clown as few in the audience would be able to do any of Ugo's tricks.  The aerial strap routine was mesmerising with Ugo's strength, power and precision.  He created clean lines and steely poses that that would cut through diamonds.
 
Later Ugo would  perform handstands on rods.  He took these rods up two, three and then four levels.  The video projection created the sensation of riding an elevator, watching floors drop away as Ugo went higher.  This was one of the most impressive and simple theatrical devices to give a sense of height for those with any vertical phobias.  Again his power and strength were on display with his masterful skill and artistry.
 
The contortionist Myriam Deraiche is statuesque and has a commanding presence. At one stage she is supported by five men as she mounts her left leg into a side split position.  The build up to this finale is what I wanted to see more of in other acts.  I wanted more clean finishes to each act rather than blurred segues to the next act.  I think the audience wanted this too, as they, at times did not know when to applaud.  This hesitation of thunderous applause was due to the lack of exciting and definite finishes.
 
I loved the transitions between scenes and maintaining the "Metropolis" theme of the show.  The passing parade of grey trench coats was used in many inventive ways.

The solo juggler was good and created a build up to his act.  His smile was infectious and he was entertaining with his various methods of juggling. 

The Chinese Pole had some great tricks and the requisite close-to-the-ground stops.  The best part was the changing of positions with the three performers. Believe it or not, I found the choreography and the staging of the set up for the equipment to this act was more interesting than the act itself.

The banquine had some great sequences that kept my attention.  The ensemble worked in harmony to support each other.  They all have brute strength particularly in their wrists to be able to catch one another.  Sadly in the programme we do not have photographs of the cast and they are identified by their speciality acts.  Here most of the cast were involved at some stage in banquine routines.

I loved the clothes rack duet with the red dress and the clown Ashley Carr.  Lovely timing that had us in the palm of his hand. It was a fun routine with a hint of sadness and loneliness. It was hilarious when he put a clothes hanger into the back of his coat and hung himself on the clothes rack.  Beautifully simple in concept and so rich and entertaining.

While some staging intentionally diverted our attention for the set up of circus equipment, other stage actions were a distraction and took away the magic of the setup of, for example the final teeterboard sequence.  The two women on the desk with the central clown took away too much focus from the teeterboard.  Sadly our view was blocked by the antics of the three on the desk and created too much action and lacked focus. 
 The teeterboard at the end came close to being a thrilling finale.   It needed a pause to create a build up of suspense and a pronouncement that they arrested our attention.  To me I wanted some more traditional entrances to build up our suspense. 
I also loved the paperwork theme that was carried through to the finale.

Though the acts were good, I was not on the edge of my seat with anticipation.  I wanted more excitement and my chest pounding with the thrill that other circus acts have given me.  I loved the concept of the show and the constant theme. My favourites were the opening tumbling act, the Cyr Wheel and the aerial straps.

I believe this was their 200th performance of "Cirkopolis" and congratulations to  Circus Eloize on their visual treat.  I look forward to their return and to see their other works.
 
Overall this production gets a 7/10.